Romantic comedies: the genre we love, but don’t always like to admit we love. Let’s take a look back through all the countless meet-cutes, misunderstandings, and happily-ever-afters, and see how far we’ve come.
It Happened One Night
GIPHY
GIPHY
We like to call this the “O.G. romantic comedy.” Released in 1934 and starring Clark Gable and Claudette Colbert, this film established the blueprint for all future rom-coms. It was also the first film to get a grand slam at the Oscars – Best Picture, Best Screenplay, Best Director, Best Actor and Best Actress. Best of all? It still holds up today! (And it’s streaming on Amazon Prime now, so go watch it).
Katharine Hepburn and Spencer Tracy
GIPHY
These two were paramours on screen and off. Perhaps that’s why their romantic comedies with each other were so great. They paired up for a bunch of them in the 1940s and 50s (the best being 1942’s Woman of the Year) and perfected that whole opposites attract, bickering/bantering thing we’ve come to know and love in all our modern day rom-coms.
Rom-Coms Go Dark
GIPHY
GIPHY
The 1960s saw the rise of the dark romantic comedy. i.e.- The Apartment and Breakfast at Tiffany’s. They’re romantic, they’re comedic, but they’re touched with some sadness, too.
Doris Day and Rock Hudson
GIPHY
GIPHY
Conversely, the 1960s also saw the popularity of light, wholesome romantic comedies starring Doris Day and Rock Hudson. Their 1959 film Pillow Talk kicked things off.
Woody Allen
GIPHY
The neurotic auteur put his own stamp on the genre in the 1970s with flicks like Annie Hall. But while we won’t be taking romantic advice from Woody Allen any time soon, we will be taking fashion cues from Diane Keaton.
Meg Ryan and the Faux Orgasm
GIPHY
GIPHY
GIPHY
We’ll have what she’s having. Meg Ryan single-handedly revitalized the genre with that famous scene in 1989’s When Harry Met Sally. She continued to be America’s rom-com darling all through the 90s alongside Tom Hanks in films like Sleepless in Seattle and You’ve Got Mail.
Pretty Woman
GIPHY
Pretty Woman was one of the biggest moneymakers of 1990 and remains one of the most successful films of the genre. Julia Roberts stars as a hooker with a heart of gold, who finds love with the rich businessman who initially hires her as an escort. Ya know, just your classic fairytale romance.
The Pre-McConaissance Rom-Com
GIPHY
GIPHY
Before True Detective and Dallas Buyers Club established Matthew McConaughey as a “serious” actor, he was the go-to male lead in a slew of frivolous yet enjoyable romantic comedies including The Wedding Planner, How To Lose a Guy in 10 Days, Failure to Launch, and Ghosts of Girlfriends Past. Never forget…
The Ensemble Rom-Com
moviegifsthatrock.tumblr.com
Like a regular romantic comedy, only with a billion famous people and just as many flimsy plotlines. Valentine’s Day and New Year’s Eve are what we like to refer to as ensemble rom-coms. Really, it’s like 15 rom-coms for the price of one.
The Critically-Acclaimed Awards-Bait Rom-Com
GIPHY
A rare breed to be sure, but 2012's Silver Linings Playbook proved these films do exist. It wasn't explicitly billed as a romantic comedy, but anyone who’s seen the film knows that’s exactly what it was. Only, you know, slightly better than average with a side of Jennifer Lawrence.
Indie Romantic Comedies
GIPHY
GIPHY
Rom-coms for the more artistic set, where the structure isn’t always linear and the endings aren’t always happy. Films like (500) Days of Summer, Celeste and Jesse Forever, and Obvious Child fit the bill. We predict more of these in the genre’s future.
cinecat.tumblr.com
What's YOUR favorite moment in romantic comedy history? Let us know on Facebook and Twitter!
Follow @hollywood_com
//
Follow @onthemarquee
//

Rascal Flatts star Joe Don Rooney has another little rascal at home after his wife Tiffany gave birth to the couple's third child on Monday (29Sep14). Little Devon Olivia joins siblings Raquel Blue, four, and six-year-old Jagger Donovan.
The country music star tells People.com, "We are so thrilled to finally become a party of five. Jagger and Raquel are so happy to be her big brother & big sister."

"We haven’t named her yet, but we’re just very excited. I’m just excited to have my wife back, bless her heart. She doesn’t do prego (pregnant) real well. She’s been really sick with this one. She’s starting to feel a little better; she’s just in that uncomfortable stage now." Rascal Flatts star Joe Don Rooney reveals his wife Tiffany is struggling with her third pregnancy. The couple's second daughter is due on 25 September (14).

NBC
Between their grown-up adaptations of Flowers in the Attic and Petals on the Wind and their upcoming biopic slate, which includes films about Whitney Houston and Aaliyah, Lifetime is re-establishing itself as the go-to channel for tactless entertainment. Sure, it’s not high art, but it is fun to watch with a few drinks and a carton of ice cream, and what else do you really need after a long week? Still, one of their upcoming films has the potential to take that absurdity and turn it into must-see TV: The Unauthorized Saved by the Bell Story.
Based on multiple independently-conducted interviews – and not, thankfully, Dustin Diamond’s 2009 memoir – the film will chronicle all of Bayside’s dirtiest secrets, and promises to change the way you look at the classic teen comedy, if you’re one of the few who made it through Diamond’s press tour without being traumatized. Thus far, all that’s been revealed is the cast, who you can check out on BuzzFeed, but the network is keeping the lid on what kind of shocking secrets will make it into the film. Going by the rumors, speculation and secondhand gossip that have circulated over the years, though, we’d say the film has plenty of shocking revelations up its sleeve; the Saved by the Bell story has it all.
Sex If you believe even a fraction of what Diamond wrote in his memoir, everyone was hooking up with one another behind the scenes at Bayside. And we do mean everybody: all three girls are rumored to have slept with Mario Lopez and Mark-Paul Gosselaar, Tiffany-Amber Theissen slept with a few of the show’s memorable guest stars, and Diamond was apparently picking up girls left and right at Disneyland. What else would you expect to happen with a bunch of teenagers stuck together for hours on end?
Drugs Despite the gang’s memorable refusal of drug use on the show, Diamond maintains that everyone was actually getting high off-camera. Apparently, Theissen's dressing room was the place to hang out if you were interested in lighting up. The actor formerly known as Screech also alleged that Gosselaar was using steroids during his time on the show, which the latter had since denied. Whether it’s true or not, you can bet it’ll show up in the movie.
Scandal Between the rumors of NBC paying hush money to a girl who accused Lopez of sexually assaulting her, Diamond’s revelation that he had a relationship with Linda Mancuso, the network’s Head of Children’s Programming, and the speculation that executives and producers were abusing their power over the stars of the show, there are more potential twists and turns in this story than all of V.C. Andrews’ novels put together.
Falls From Grace After spending five years as straight-laced Jessie Spano, Elizabeth Berkley decided to branch out with a role in the NC-17 cult classic Showgirls, a move that sent her career into a tailspin for years afterwards, even if it did give the world a new way to pronounce “Versace.” Thanks to his father’s mishandling of his Saved by the Bell earnings, Diamond went broke as an adult. Although, if he hadn’t needed the money, he might never have written his wonderfully terrible memoir, and there would so much less juicy Saved by the Bell gossip in the world…
In-Fighting With this many teenagers in one place, there must have been plenty of drama. Though there haven’t been too many fights or feuds at Bayside, Diamond does maintain that he was picked on and left out of things by the rest of the cast. Maybe they were just trying to help him get into character?
Sweet '80s Fashions Saved by the Bell was on during the finest period in American fashion: the late '80s and early '90s. Since everything is more ridiculous in hindsight, expect plenty of acid-washed denim, teased hair, garish print and color combinations, crop tops and bows – and that was just Kelly’s wardrobe. We don’t even know how they’re going to tackle every ridiculous thing that Slater wore.
The Unauthorized Saved By the Bell Story premieres on September 1 at 9pm on Lifetime. We're so excited, we're so scared!
Follow @hollywood_com
//
Follow @julesemm
//

Rascal Flatts guitarist Joe Don Rooney and his wife Tiffany Fallon are expecting their third child. The country music star and the former Playboy model are preparing to welcome another baby to their brood.
The couple shares its excitement in a statement to People magazine, which reads: "We are so thrilled and feel so blessed to bring another little angel into our world.
"Jagger and Rocky are very excited too. They're going to make a great 'big brother-big sister duo' as the Rooney circus continues."
Rooney and Fallon, who wed in 2006, are already parents to son Jagger Donovan, five, and daughter Raquel Blue, three.

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
Follow @Michael Arbeiter
//
| Follow @Hollywood_com
//

Katy Perry and John Mayer sealed their rekindled romance by stepping out together at a party celebrating veteran funnyman Don Rickles in New York City on Monday (24Jun13). The singers arrived at the Friars Club event separately but left The Waldorf Astoria hotel holding hands. Mayer was also seen clutching a small gift bag from luxury jewellery company Tiffany & Co.
The public display comes after Perry told the July (13) issue of Vogue that she and Mayer were "over", adding, "I was madly in love with him. I still am madly in love with him. All I can say about that relationship is that he's got a beautiful mind."
The stars, who split for a second time earlier this year (13), first sparked reunion rumours when they were spotted together at a barbecue Perry held at her Hollywood Hills home in Los Angeles in May (13).

Instead of spending this week thinking about my original predictions for the So You Think you Can Dance Season 9 final four (which was some combination of Amelia/Audrey/Matthew/Chehon, only one of whom made it remotely close to the top), I spent considerable time thinking about the Jedi mind tricks manufactured by Nigel at the end of last week’s episode.
Think about it. Why did he support Cyrus throughout the entirety of the season — the whole thing — and then choose the last three minutes of the final performance show to turn against him?
I have decided I know why: It was all a ploy. A ploy to get us all to pity Cyrus and vote for him. A ploy to make Cyrus the 2012 America’s Favorite (Male) Dancer.
I’m not complaining. I consider myself very jaded when it comes to these shows and very aware of Nigel’s various forms of manipulation—and even I felt bad for Cyrus. Even I fell for it. Even I started thinking that maybe, just maybe, Cyrus deserved to win. Me! Who has been complaining for the entirety of the last five weeks that he did not deserve to be here at all!
During last night’s finale, we found out whether the mind tricks worked.
But first. There was, of course, a two-hour performance finale featuring the entire top 20, plus Carly Rae Jepsen and assorted other random stars. We also welcomed back many of the guest judges that graced the panel this season, including Tyce Diorio, Adam Shankman and Jackson Avery’s mom from Grey’s Anatomy.
The night kicked off with a routine Nigel called “the best routine we’ve ever opened the show with.” Glad to see that Nigel &amp; Co. kept their gross exaggerations in check for the finale.
To some extent, it lived up to Nigel’s words. Like every other opening routine we’ve seen this season, it was dark and overwrought with emotion and everyone was wearing all black and the guys spent most of the two minutes tossing the flailing ladies around the stage. But I have to say, it was pretty cool in a Wuthering Heights kind of way.
Also, I kid you not: There was one portion of the routine where four or five of the immensely talented males leapt and jumped and twirled and all-around impressed, while Cyrus — seriously, I kid you not — kind of crouched at the top of the stage and crawled across it. But ignore me. I was on Team Cyrus this week. I keep forgetting.
You’re probably wondering how the producers planned to fill their allotted two hours of finale time. I shall tell you: Each of the six judges on the panel was tasked with naming his or her favorite routine of the season, which we would then be treated to seeing for a second time.
Nigel chose Matthew and Audrey’s chaise lounge routine (Nigel’s pronunciation of that phrase puts mine to shame — good thing I write and I don’t speak), inspired by Titanic and choreographed by Travis Wall. I enjoyed this routine — I really did. But it was just so literal in its inspiration. Still, at the beginning of this season — maybe as soon as I saw this exact number — I remember saying that I’d be shocked if these two weren’t in the finale.
Well. I’m not so shocked anymore. This is also why I don’t ever bet. I do stand by the fact, though, that these two were two of the most talented and graceful contemporary dancers of the season.
Up next, Lil C chose Twitch’s and Witney’s hip-hop routine for its “rhythmical versatility.” Ha. If that’s what you want to call it.
I actually liked this routine significantly more tonight than I did the first time I saw it. Probably because back when I first saw it, Witney was still in the running, a fact that infuriated me endlessly. I have to admit, she and Twitch were a surprisingly intriguing pair, but I stand by the fact that her hairography constitutes at least half of what the judges lovingly refer to as her appeal. Applegate’s with me on that one.
Debbie/Jackson’s mom finally got one of our top two ladies on the stage when she picked Tiffany’s and George’s “Turning Page” routine, choreographed by Sonya. This was such a perfect partnership — just like Audrey and Matthew, these two are such talented, mechanically-sound contemporary dancers. Both of them have such terrific extension, such clean lines … they just danced so well together. Poor George just couldn’t get any love from the voting public. At least one of them survived till the end, though.
We then took some time to look back at the five best moments from the audition tour — a.k.a. the sob-story dancers who weren’t good enough to make it onto the show, but whom the producers felt the need to pimp, regardless.
For No. 5, we took a look back at Leroy, who came from a rough neighborhood and channeled his energy into starting a dance troupe for kids. I remember liking this dude. He was a good dude. He wouldn’t have survived on this show, though.
Then again, I said the same thing about Cyrus. So there’s that.
For his reprise pick, Adam chose Cole’s and Lindsay’s paso doble, choreographed by Jason Gilkison and a number Nigel deemed one of SYTYCD’s best paso dobles ever.
I missed Lindsay! I missed Cole! Lindsay was so likeable, and Cole so, so deserved to be in the finale. He was so versatile and so endearing. I, like Nigel and Adam, loved this routine: It was so dark in a Disney movie-montage kind of way. This was also a great moment for Lindsay because it got her out of the cute-little-teenager rut. It was a very mature performance from her.
Next up, Tyce — shockingly! — chose a Broadway routine. His favorite was the Lovecats number, performed by Amelia and Will. In another example of just how bad I am at predicting which dancers would be the last ones left standing, I remember seeing this and thinking that it would be impossible for Amelia to be left out of the top four.
Not only was she left out of the top four, she was left out of the top 10. She didn’t even qualify for the tour.
I guess this just goes to show that America’s love doesn’t come cheap. They want more than characters and theatrics and dancers who mug at the camera; they want real, undeniable talent.
Then, it was time for the No. 4 best moment of the season, which belonged to housewife Brie, who sacrificed her dancing career when she had kids. The judges originally put her through to Vegas — and invited her children to the judges’ panel to help determine her fate — but she didn’t make it much farther than that.
Moving right along, Mary chose what she perceived as the most powerful, emotional number of the season: Chehon’s and all-star Kathryn’s “Eli, Eli” routine, based on the Holocaust and choreographed by Tyce.
Oh, man, I loved this one. This routine was the precise moment Chehon became a lock for the finale. This is when he proved he could do emotion — he had that silent scream, that astounding lift in the middle, that dive toward the suitcase on the floor. This was probably his best performance of the season. Good thing we got to see it again. This would justify his win, 100 percent, if he got it.
Finally, at the end of the first hour of the finale, it was time to give some love to the four finalists, starting with Eliana. She chose to re-perform her “Bang Bang” contemporary piece with alls-star Alex — otherwise known as the routine that prompted Nigel to deem her his favorite dancer in the history of SYTYCD.
Along with Chehon’s suitcase routine, this was certainly one of the standouts of the season. It was so nice to finally — finally — get to see Eliana do a contemporary number with such a talented partner. For so long, she carried her partners — I’m talking to you, Cy — and this kind of reminded all of us how amazing she can be when she dances with someone who’s actually on her level.
Post-routine, Nigel told us once again that Eliana is his favorite, then told her that every choreographer on this show is obsessed with her and wants to hire her. Aw, shucks.
The No. 3 top moment of the season went to the two twins — I think they owned a clothing store or something — who auditioned when Jesse Tyler Ferguson was guest-judging. I remember them being kind of funny but also kind of annoying. Oh well.
Next, Cat got to choose a routine for us all to see once again! It was Tiffany and all-star Brandon’s disco! Featuring a whopping 11 lifts! Tiffany is so good. This was a great moment for her because it gave her a chance to get her inner J.Lo on, complete with the sparkly bodysuit. She finally got to show some personality and smile a little and prove that if the Black Eyed Peas ever need a backup dancer, she’s their girl. Oh, and as Cat indicated, the 11 lifts were pretty amazing.
Chehon chose to dance his Argentine tango with Anya because it helped him break through what he called his “emotional wall.” Kind of a strange pick for Chehon. I’m sure that if the judges hadn’t chosen the suitcase routine already, he would have — but this was an odd selection because the judges constantly got on his case about the fact that he was weak when it came to the Latin styles. I thought this routine was kind of sleepy and dull and not all that sensual or interesting for a tango, but hey. I suppose Chehon truly believed it helped him grow, so why not?
It also gave him an opportunity to wear a sheer red shirt.
Afterward, Mary told him he’s been extraordinary from the get-go, and the night he performed this particular tango was the night his wall noticeably came down.
After a lengthy montage of all the wonderful hip-hop routines we saw this season, we got another treat: a brand new hip-hop routine! With Twitch, Comfort and Cyrus featuring Christopher Scott!
Interesting that they gave Cyrus a special routine with two all-stars and a choreographer. Not that the producers adore him or anything. I’m not complaining because I love these dubstep numbers — they’re actually my favorite, and this one in particular was so impressive — but there is just so much rampant special treatment for Cy.
I would love to see this season’s voting totals just for an indication of how much demand there is for this. Given the way the producers pimped him, I would assume that Cyrus straight-up dominated all season.
Tiffany reprised her Mandy Moore-choreographed “Power of Love” contemporary routine because she said it was her defining moment. We know how much she loves that song. I do, too, and I was pretty thrilled I got to hear (and see!) it again. The lifts in this routine were so spectacular, and so was Tiffany’s body control. It was like a figure-skating routine on the ground. Pretty amazing stuff.
Mary said this was the routine that opened the judges’ eyes and proved that Tiffanyf could be a mature dancer as well as a “firecracker.”
This was the point in the finale when I really started wondering who would win. How do you choose between Eliana and Tiffany? How come they both couldn’t win?
The No. 2 top moment of the season — YES — was THE EXORCIST. Oh man, I missed him. This was absolutely the top audition moment for me. This possibly was the top moment of the season for me (I peaked early). I wonder if The Exorcist has watched Cyrus’ trajectory through this show and wishes he hadn’t given up.
And of course, the No. 1 moment of the season was Dragon House, the hip-hop trio from Atlanta, which was welcomed back to the live stage. So much love for hip-hop this season.
These dudes were so awesome. They were like three Cyruses. Wait, wasn’t Cyrus in Dragon House? Did I make that up? How come nobody mentioned that? How come Cyrus didn’t dance with them?
Carly Rae Jepsen then took the stage to celebrate her album’s release in the U.S. and to perform her new single, “This Kiss.” Praise the Lord that I didn’t have to hear “Call Me Maybe.” I actually had never heard her sing live before this. I try to avoid Carly Rae Jepsen at all costs.
And now I know why.
Anywho, after the entirely too long montage of this season’s greatest hits, it was time for Cyrus’ reprise. What a shocker that he got to go last! What an even bigger shocker that he chose his final duet with Twitch!
No, in all seriousness, I was pretty psyched that he chose this number. It was pretty excellent. Anyone who watches this show was waiting all season to see these two dance together, and finally seeing it happen was like Christmas.
Also, I think Twitch got more face time during the finale than three of the four finalists.
After they were finished and stood frozen and twitching at center stage, Cat earned her Emmy nomination with the quote of the night: “Don’t worry, I’ve got the charger!”
Nigel attempted to compensate for last week’s mind games by telling Cyrus that that “if some company doesn’t use you as the face of their product, they are very stupid.” ‘Kay. I’ve never seen Nigel pimp out contestants for endorsement deals before, but there’s a first time for everything. I’m sure he has plenty of ideas for Witney.
He also said that not only did Cy steal last week’s show with this routine, he stole the whole season. True story. No way he would lose.
… Or would he?
First, before the results, there was time for one more original routine, choreographed by Tabitha and Napoleon (when did they have time to choreograph? Didn’t they just have a baby?). The top 10 teamed up with the all-stars, and OMG you guys. It was a king-of-the-jungle routine that began with the intro of “Circle of Life.” I was sold immediately.
Also, everyone was dressed up like lions, complete with fake fur and face paint. So that happened. It was like king-of the-jungle Rocky Horror Picture Show. I kind of enjoyed it, though.
And then — dun dun dun — the final results. Finally. It all came down to this. Oh, the nerves!
Eliana, dressed in all black, and Tiffany, dressed in all white, were up first. Both ladies were weeping as Cat dragged out the final reveal and deemed America’s favorite (female) dancer…
ELIANA!
I was pretty happy. She’s so cute and likable. So is Tiffany, but Tiff was kind of a late bloomer, so ultimately, this was no surprise. Eliana’s demeanor is so reminiscent of Melanie’s that this was kind of a given from the get-go, and she is just so freaking talented.
And then, the guys. This, of course, was the real moment of truth, which was why the producers saved the guys for last. During the pre-results montage, there was absolutely no doubt in my mind that Cyrus would win. It’s so easy to see why people love him. He is very lovable, and it’s so much fun to watch him. If that’s what this show is about, I’m okay with that, even if it means ultra-talented Chehon gets the shaft.
And so, America’s favorite male dancer was…
Chehon.
Did I not say that there is a reason why I don’t bet?
Still, I was pretty shocked. I think Cyrus was shocked. Chehon was definitely shocked. I think America ultimately made the right call here: They awarded the best dancer with the top honors.
But … there was a tiny part of me that felt bad for poor Cy.
But there is no doubt in my mind that we’ll be seeing more than enough of him in the all-star rounds of future seasons.
So that’s a wrap on Season 9! What did you think? Did the right dancers win? Who did you vote for? Did you buy into Nigel’s performance-finale mind tricks?
Until next season…
[Image Credit: FOX]
More:So You Think You Can Dance Recap: There Is Something to be Said for Having Tact, NigelSo You Think You Can Dance Recap: Judges’ Pet Lives to See Another DaySo You Think You Can Dance Recap: Mia Michaels Redux

It’s hard to believe this is it: the episode of So You Think You Can Dance that will determine the four dancers who make it into the finale.
And perhaps for the first time all season, each and every one of these finalists danced like they wanted it.
Fortunately, the voting decision is no longer in the judges’ (and by that, I mean Nigel’s) hands. Now, America’s votes finally serve some purpose. Now, the two dancers America liked least last week would go home on Wednesday.
Still not the greatest system, but hey. It’s still better than the dictator telling us who our final four options are.
So there we were: Witney, Eliana, and Tiffany. Cyrus, Cole, and Chehon. By the end of the night, two of them would be going home and four of them would have a 50-50 chance of becoming America’s next favorite dancer. (See? I was careful not to say “America’s Best Dancer,” since Nigel made it so exceedingly clear during last week’s episode that finding the best dancers is not what this show is all about.)
The producers invited Christina Applegate back as the guest judge, and rightfully so. As one of the only celebrity judges who has actually offered pertinent commentary this season, her help would be desperately needed to combat Nigel’s delusional obsession with Witney.
For the semifinal show, each dancer would perform three times: alone, with a partner and with an all-star.
Once again, Tiffany kicked off the show (the death slot again! Not fair), pairing up with Benji to perform a Grease-inspired swing routine about a guy and a gal who fall in love in a diner. This was an interesting pairing: Benji is such a crazy, energetic, Matthew Lillard-in-She’s All That type of partner, rather than the classical, graceful partners we’re used to seeing Tiffany with.
But this pairing was good for her. It forced her to show a bit more personality than usual, and she genuinely looked like she was having a good time, which isn’t always the case with her. Sometimes, Tiffany can come off as bland and boring, but this routine—for once—allowed her to really thrive. It was also probably the most challenging choreography she’s had to deal with all season, and she killed it. This, officially, would be the beginning of the best night Tiffany has had all season.
The judges all gave the performance a standing O (the first of many), and Nigel said the energy lifted the entire audience. Mary said both Benji and Tiffany were “kicking their patooties off.” Christina said she thought it would’ve been hard for any contemporary dancer to shine next to Benji, but Tiffany somehow accomplished it.
Next up was Witney’s solo. She wore red and spent the first 15 seconds doing nothing except swinging her skirt and sashaying. Actually, that’s pretty much all she did for the entirety of this number. To me, it’s kind of a joke. I don’t see much of a difference between Witney and that girl from the Vegas round who got cut for imitating Tom Cruise in Risky Business.
Cole took the bad taste out of our mouths, pairing up with Season 8 champ Melanie and finally taking on a character that wasn’t “creepy and dark.” He certainly had the right partner for it—Melanie is so happy and bubbly—and I have to say, as much as I love Cole’s dark and ominous characters, it was nice to see him get away from that for a week.
I think that sometimes, the personality Cole infuses in his routines can overshadow his actual talent, and the truth is, he has to be considered the most talented male remaining. Cole is also one of the very few males who consistently manages to draw eyes away from his female partners. So much of this choreography caters to the ladies, but Cole just makes every routine his own.
Mary liked that this performance was different for Cole, who commanded the attention away from Melanie. Christina called Cole “masterful,” “powerful,” and “androgynous.” She could even ignore the fact that his footwork was off during his pirouette, she said. Nigel liked the way Sonya’s choreography bent the gender norms and showed off Cole’s vulnerability.
Chehon’s solo was up next. I love him. He’s so cute and so good. At this point, I appreciate any dancer who doesn’t rely on tired gimmicks to sail through this competition (ehem), and in that way, guys like Chehon deserve credit. He’s a contemporary specialist, clearly, but he’s been able to adapt to so many styles during his run on this show, and I feel like he’s never really gotten his due.
And then—finally! Eliana got Twitch as her all-star partner! I couldn’t even handle this. I’ve been asking for it for weeks. For real, I have it in writing. Eliana and Twitch performed another excerpt from Save the Last Dance, based on a stunning ballerina who falls in love with a hot dancer.
The question was: Could Eliana hold her own against Twitch? This answer has two parts. The first part is yes. She definitely made Twitch look good, and vice versa. They had chemistry! They had fun! They were believable! The only problem with this routine was it wasn’t really traditional hip hop.
It was kind of… almost Broadway masquerading as hip hop. I would’ve loved to see Eliana and Twitch do something like what Witney and Twitch did last week, but hey. This was a start, and Eliana killed it — though it was a little bit heavy on the theatrics, rather than the choreography. When you have a dancer as strong as Eliana, you don’t need to rely on the theatrics.
Christina said Eliana could dance the YMCA for hours and she’d be entertained (the dance equivalent of being able to sing the phone book). Nigel said that Eliana was still his favorite, but the routine relied too much on the character and the comedy. Mary thought it was a fun, entertaining number, and she loves Eliana’s ability to be a chameleon.
Tiffany’s solo was so much better than Witney’s that it was almost hilarious. First of all, her mechanics are always so perfect, but lately, her personality has been coming out in droves, too, which has made her all the more lovable. And her choreography boasts more complexity than a few sashays and sexy-faces.
Chehon and all-star Kathryn danced a Tyce-choreographed routine about how people cope with loss. This one seemed like it was going to be right in Chehon’s wheelhouse; he generally thrives in these sad, gutting routines, but strangely, he did express some concern about being able to convey genuine emotion.
Honestly, he had nothing to worry about. This was one of the more moving routines of the season. Props to Tyce, because it was exceptionally masterminded, but these two did it justice, and neither of them seemed to upstage the other. Chehon and Kathryn seemed to have forged a true partnership, and Chehon especially seemed to have really tapped into his emotional core, despite his hesitation.
This one, too, got a standing O from the judging panel. Nigel said the technical and emotional sides of the routine were equally terrific. Mary said that Tyce must have been thrilled to get the pair he got (true story), and she said this was one of the best routines she’s seen all season. Christina went a little overboard sucking up to Tyce, then moved on to Chehon, whom she commended for finally being able to tap in to such genuine emotion. Everyone wept. Seriously.
Next up, Cole’s solo was excellent, as expected. The great thing about Cole is that, like Chehon, he’s so technically impressive, but he’s also so unique with his martial arts-inspired specialty. But would it be enough to get him into the finale?
Witney, joined by all-star Marco, got to take on lyrical jazz next. What a stretch for her! The routine was about a lady who gets second thoughts at the altar and attempts to dump her soon-to-be husband.
This routine wasn’t a bad one for Witney, and it shouldn’t have been, because it was right in her wheelhouse, and she had an energetic, personable partner. This was probably one of her strongest performances of the season, all things considered. But at this stage of the competition, when there are only three female dancers remaining, the other two ladies are so many leaps and bounds beyond her that if this show was fair, we know who would be in the top two.
But I digress.
Mary said that Marco partnered Witney up a storm, and that the two of them looked like they’d been dancing together for months. Christina (finally!!!) said that she gets distracted by Witney’s hairography! I love this woman, officially. She read my mind, and then Witney pretended not to stank-face her. Nigel then ignored the routine Witney had just performed and instead attempted to justify his ridiculous obsession with her by saying he’s been forced to save her all season because the choreographers think she’s a star. Just own up to it, dude.
Eliana performed a darling solo to “I Will Follow You Into the Dark,” and she showed us all why she’s still here: In terms of talent, she is by far the strongest female. She can adapt to so many different styles—and she performs them so competently—but when it comes to her classical specialty, she is just stunning. And most importantly, she’s still the most likable female.
So, guess what style Cyrus got for his duet? Dubstep. I’m sure there was no producer manipulation going on here. This was the equivalent of Phillip Phillips being gifted with the three-note masterpiece “Stand By Me” in the Idol finale. Totally catering to Cyrus’ weakness, which is that he can’t do anything except hip hop.
I realize that the way I talk about Cyrus makes it seem like I hate him, and I actually quite enjoy him. I really loved this routine. And he’s so good at dubstep! He was made to do animation, and not much else — and that’s fine. The dubstep breakdown in the middle of this routine was one of the most stunning 30 seconds of dancing I’ve seen all season, because I can’t even fathom how hard it is to be that in sync with your partner and with the rhythm of the music.
And it got another standing O from the judges! Christina said she thinks Cyrus is fantastic and wants to play a game where she throws pens through his massive ear piercings. Nigel once again ignored the routine he had just seen and instead chose to justify Cyrus’ continued presence on this show: He insisted that Cyrus has never been in danger of elimination, and that’s not the judging panel’s fault. It’s so annoying how sensitive Nigel is fans’ criticisms of this show. Could you ever imagine Simon Cowell attempting to justify his own critiques? No, no you couldn’t.
Next up, Witney rejoined forces with Chehon — perhaps the worst partnering of this season — for a cha-cha. During the intro package, the choreographer insisted that the routine required a strong connection between the two of them, which is hilarious because they’ve never had any connection whatsoever. Chehon also complained during the intro package that this routine totally catered to Witney instead of him, and that his partner is an attention-stealer. I love him so much more now.
I have to admit, I’ve never seen anyone cha-cha to “Where Have You Been” by Rihanna, and it was an interesting experience. It was pretty cool, actually. Like Cyrus, Witney is much better when the producers just let her stick with what she’s good at, but that’s not incredibly impressive. What is impressive is someone like Chehon, who can adapt to anything. Or at least he tries.
Mary said that Chehon’s discomfort with Latin dancing was excruciatingly obvious, and that Witney’s lifts were bad. Christina said she remembered nothing after the deep plie at the beginning of the routine, which essentially absolved her from having to criticize this mess. Nigel agreed with Mary that the lift fell apart and that this routine didn’t particularly play to either of their strengths, then ended by calling the routine “disappointing.”
Next up was Cyrus’ solo. (Why is it that all three of Cyrus’ performances on this episode would come in the final 35 minutes of the broadcast? All three? Come on, producers. At least be discreet.) As usual, Cyrus was great. He does the same thing in each of his solos, and he’s always perfect. Same old, same old animator.
Cole and Eliana paired up with Mia Michaels for a contemporary routine that was absolutely perfect for the two of them. The concept was a little kooky — it was inspired by the way that rams fight, according to Mia — but this partnering was genius. These were the two most talented and versatile individuals remaining, and this routine had the potential to be something really special.
And even in spite of the incredibly strange concept, Cole and Eliana lived up to that potential. There were interludes in which Eliana literally head-butted Cole in the side in order to roll him across the floor, and there were some fake-fighting sequences, but in terms of originality and execution, this had to be one of the more stirring routines of the season. And I’ll say once again: This partnering was genius. Talk about two contestants who brought out the best in each other.
Another standing O! But this one was well-deserved. Nigel said this routine must have been based on his relationship with Mia (har, har), then called both dancers “fantastic” and “brilliant.” Christina said Eliana is the perfect dancer and there is light coming out of her feet, then sadly ignored Cole.
For our final performance of the night, we got a new pairing: Tiffany and Cyrus, doing a Broadway routine described as “your favorite ‘50s TV show that never aired.” This would be interesting. Tiffany expressed concern that there was a lot of partnering, a lot of touching and “a lot of sexiness.” Cyrus suggested that parents cover their children’s eyes.
As far as Broadway routines go — which have never been my favorite — this was one of the better ones this season. It even made Cyrus look good, though granted, there was so little dancing involved for him that he was probably thrilled. Tiffany was a great partner for him; she really gave all of herself to this routine, and her energy brought out the best in both her and Cyrus.
God, she really came to play on Wednesday. Every single one of her performances was flawless, and you couldn’t say that about either of the other females.
Christina said the choreography was sassy and splendid, and then Nigel said that if he ever had a daughter, he never would let her come on this show. (After witnessing his behavior toward Witney over the last three months … nor would I, Nigel. Nor would I.) Mary said it was the cutest number ever zomg.
And then … this was it. Results. Results, and no opportunity to be saved by the judges! Ah, the suspense.
Your First Girl In: Tiffany
Yay! I was pumped about this. Tiffany deserved this after Wednesday’s show. She was honestly spectacular, and every time she dances, she seems to improve. Those are the types of contestants you love to reward.
Your Second Girl In: Eliana
DOUBLE-YAY! Finally, America gets the power and America gets it right. I love this country. Witney was way out of her element this week; both Tiffany and Eliana made her look like an amateur.
Your First Guy In: Chehon
I’m such a loser, but I got chills when Cat ripped open the envelope and announced his name. He looked so shocked and humbled, and he really has grown so much during this competition. He earned this.
Your Second Guy In: Cyrus
Shocker. As soon as Cat read Chehon’s name, Cole had a look of resignation on his face. He just knew there was no way he was coming out on top of Cyrus, who has never been in the bottom two.
I think Cole is great — and so, so versatile — but that being said, it would’ve been disappointing to be deprived of another chance to see Cyrus, limited as he is.
What did you think? Are these the dancers you wanted to see in the finale? Did America make the right choices? And don’t forget, next week’s performance finale is on Tuesday, not Wednesday.
[Image Credit: FOX]More:
So You Think You Can Dance Recap: Judges’ Pet Lives to See Another Day
So You Think You Can Dance Recap: America Is Silenced Once Again
So You Think You Can Dance Recap: A Striptease, A Proposal, and Four Goodbyes